Condition Report:
Laid to masonite. Dense varnish layer, some craquelure. Apparent inpaint near shoulder. Otherwise difficult to distinguish restoration. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Description:
George Henry Hall American, 1825-1913 The Flower Seller, 1861 Signed G. H. Hall and dated 1861 (ll) Oil on canvas 29 1/4 x 36 1/4 inches Provenance: Private collection, MA Exhibited: Shreveport, LA, Norton Art Gallery, 19th and Early 20th Century American Paintings from Spanierman Gallery, Sep. 18-Nov. 6, 1994 M. Elizabeth Boone, author of Vistas de España. American Views of Art and Life in Spain, 1860-1914 (Yale University Press, 2007), wrote of this work: "For George Henry Hall, living with and painting the people of Seville was a way to follow in the footsteps of Bartolomé Murillo (1617-1682), the most popular Spanish Baroque painter of the late eighteenth and early nineteenth century. Murillo's picturesque street scenes of Spanish children and itinerant vendors were highly regarded by collectors and artists alike, and his influence was widely felt by those who visited and worked in Spain. Hall first traveled to Seville, the city most closely associated with the Spanish Old Master, in 1860. The Flower Seller, painted in 1861 shortly after his first Sevillian sojourn, is among Hall's most elaborate and engaging Murilloesque compositions." C The Spanierman Gallery, LLC

Condition Report:
Wax relined. Frame rubbing. Some light scattered craquelure. 6 x 3 1/2 inch area of irregularly shaped repaired tears in the face, neck and background of the man at the upper right quadrant. Another area of irregularly shaped repaired tears, 2 1/4 x 1 1/2 inches, in the background between the man and the woman to his left. A touch of inpaint in the woman's yellow shawl, some minor touches in the table at the lower left quadrant, to the shadows of the grapes in the lowe right quadrant, the ceiling in the background at the upper right and upper left quadrants. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Description:
George Henry Hall (American, 1825-1913) A Plea for Peace, 1861 Signed and dated lower left "G.H. Hall / 1861" Oil on board 18 3/4 x 15 inches Provenance: The late Ms. Delia P. Frissora of Watertown, Mass.; Estates Unlimited, Inc Auction Gallery, January 2012 Other Notes: This work was purportedly loaned to the Museum of Fine Arts, Boston in 1972. George Henry Hall's A Plea for Peace called into question the feminine qualities generally associated with floral still-lifes. Hall, who earlier in his career painted historical and allegorical subjects, managed to reflect the political turbulence of the times by depicting flowers in patriotic colors sitting in a rifle. In doing so Hall juxtaposed the fragility and vibrancy of the flowers with a sense of impending destruction. Painted in 1861 at the beginning of the American Civil War, A Plea for Peace sent a clear message of what was at stake for a country newly at war.

Condition Report:
Condition report from Simon Parkes Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Keno Auctions shall have no responsibility for any error or omission regarding an item's condition.

Condition Report:
Canvas: Unlined Condition: Very Good Restoration: Very Minor Frame: Reproduction Comments: Not cleaned in modern times fine minor crazing throughout This report is based on Shannon''s knowledge and opinion of the work described. It is provided as a service, not as a guarantee or warranty. All lots should be viewed personally by prospective buyers to evaluate condition. Frames on all paintings are sold "As Is". Frames may need some conservation.

Condition Report:
Wax relined and on newer expansion stretchers. Dense varnish layer, raspberries flouresce under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Description:
Oil on Board. Still life of Red, White & Blue flowers in the muzzle of a Springfield rifle. Measures 16" by 12.5". Signed lower left and dated 1861, just at the start of the Civil War. This patriotic painting was on temporary loan to the Museum of Fine Arts, Boston in 1972.

Condition Report:
Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

Condition Report:
Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

Condition Report:
Canvas: Lined Condition: Very Good Restoration: Very Minor Frame: Unframed In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon's is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE

Description:
George Henry Hall American-New York (1825-1913) Oil on Board "Young Italian Beauty" Circa 1885. Signed and Dated Lower Left and Roma. Minor Nicks, Scraping or else Good to Very Good Condition. Measures 33 Inches and 24 Inches Wide, Frame Measures 46 Inches Tall and 36-1/2 Inches Wide. We Will Not Ship This Item In-House Because of its Size. We Would be Happy to Recommend a List of Approved Vendors Upon Request.

Condition Report:
Canvas: Lined Condition: Very Good Restoration: Very Minor Frame: Period In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon's is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE

Description:
Medium: OilSupport: CanvasArtist: George Henry HallArtist Dates: (1825 - 1913)Country of Origin: AmericaTitle & Description: Painting depicts a portrait of Georgia Maria Pickett Auld sitting near an open window. Painting is accompanied with a letter from a family member of the sitter confirming that the woman is Georgia Maria Pickett Auld and is related to George Henry Hall. The letter also tells of a romantic love story about how Georgia Maria Pickett met her husband William Walker Auld. It tells about their life of affection and admiration for each other.Signature: "Geo. Henry Hall 1884"Date of Work: Dated 1884Frame: OriginalWork Size: 17" H x 13" WFrame Size: 26" H x 21.5" WWeight: 5.6 poundsCondition: Re-lined, minor touch ups to windows and curtains.Artist Biography: George Henry Hall was born in Manchester, New Hampshire on September 21, 1825. His father moved the family to Boston when the son was four years old. He began his career as an artist at the age of 16. In 1849 he traveled with his friend Eastman Johnson to D?sseldorf, Germany. Hall studied at the K?nigliche Akademie for about a year, and continued his studies for two more years in Paris, and, in Rome, where he opened a studio. In 1852 he returned to the United States and settled in New York City. However, he remained an enthusiastic traveler and spent a total of more than 20 years abroad. During this span Hall has visited Spain several times, and spent a year in study in Egypt.He was elected an associate in 1853, and in 1868 a member, of the prestigious National Academy of Design. He was also a member of the Century Association, a prominent social club for men in New York City. They held annual exhibitions and built a large collection. He exhibited at the Pennsylvania Academy of Fine Arts 1853-1968, the Royal Academy, British Institute, Suffolk Street Gallery, all in London, England 1858-1874, the Brooklyn Art Association 1861-1881, the National Academy of Design 1862-1900, the Art Institute of Chicago 1888, and the Boston Art Club 1881,1889. One of the best-known still-life painters of the mid-19th century. In about 1857, he began painting fruit and flower still lifes. He was much admired and financially successful in his day, as mentioned in the famous Book Of The Artist by Henry R. Tuckerman, published in 1867. The author was impresssed that Hall received $12,000 for an auction of 75 small paintings in 1865.Halls's fruit and flowers emphasized the rich abundance of nature and demonstrated scientific knowledge of his subject matter. The exactiture of his paintings were greatly admired. A critic writing for The Independent said, "His still-life pictures are his best, and in the really picturesque delineation of fruit and flowers he has few superiors in the country...". Although the table-top setting was a common in his work, his preference for placing his still lifes in a natural setting is indicative of his devotion to the aesthetic philosophy of John Ruskin. His work of the 1860s has affinities with the highly detailed, naturalistic imagery of the American Pre-Raphaelites, though by 1868 he was concentrating on figure painting and Spanish and Italian themes. In the early 1880s he returned to still-life subjects (e.g. California Grapes, 1893; Worcester, MA, Art Museum). The subject-matter of his figure paintings was often inspired by the Mediterranean locations he favoured. His art was distinguished by a dark colour range and highly polished finish and reflected his love of Venetian painting. After 1870 Hall exhibited regularly at the National Academy of Design, New York.Hall's work is represented in the Abby A Rockefeller Folk Art Museum, the Chrysler Museum of Art, the Georgia Museum of Art, the High Museum of Art, the Boston Museum of Fine Arts, the Smithsonian American Art Museum, the Brooklyn Museum of Art, the John H. Vanderpoel Art Association, and the Metropolitan Museum of Art.George Henry Hall died in New York City on February 17, 1913. Meta: painting, art

Condition Report:
Laid to masonite. Dense varnish layer, some craquelure. Apparent inpaint near shoulder. Otherwise difficult to distinguish restoration. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Description:
Description: An oil on canvas by George Henry Hall, A floral still life. In the painting you see a floral arrangement place in the center of a table, the arrangement has various types of flowers and some petals have fallen to the table. Signature by the artist in the lower right hand cornerMaterial: Oil on canvasMaker/Artist: G. H. HallDate: 19th/20th centuryProvenance: n/aSize of Artwork: H. 20 x W. 24 inCondition: not linedno craquelure Minor repairs scattered in paintHistory: GEORGE HENRY HALL, N.A. (1825-1913)George Henry Hall was born in Manchester, New Hampshire on September 21, 1825. His father moved the family to Boston when the son was four years old. He began his career as an artist at the age of 16. In 1849 he traveled with his friend Eastman Johnson to DÃ¼sseldorf, Germany. Hall studied at the KÃ¶nigliche Akademie for about a year, and continued his studies for two more years in Paris, and, in Rome, where he opened a studio. In 1852 he returned to the United States and settled in New York City. However, he remained an enthusiastic traveler and spent a total of more than 20 years abroad. During this span Hall has visited Spain several times, and spent a year in study in Egypt.He was elected an associate in 1853, and in 1868 a member, of the prestigious National Academy of Design. He was also a member of the Century Association, a prominent social club for men in New York City. They held annual exhibitions and built a large collection. He exhibited at the Pennsylvania Academy of Fine Arts 1853-1968, the Royal Academy, British Institute, Suffolk Street Gallery, all in London, England 1858-1874, the Brooklyn Art Association 1861-1881, the National Academy of Design 1862-1900, the Art Institute of Chicago 1888, and the Boston Art Club 1881,1889. One of the best-known still-life painters of the mid-19th century. In about 1857, he began painting fruit and flower still lifes. He was much admired and financially successful in his day, as mentioned in the famous Book Of The Artist by Henry R. Tuckerman, published in 1867. The author was impresssed that Hall received $12,000 for an auction of 75 small paintings in 1865.Halls's fruit and flowers emphasized the rich abundance of nature and demonstrated scientific knowledge of his subject matter. The exactiture of his paintings were greatly admired. A critic writing for The Independent said, "His still-life pictures are his best, and in the really picturesque delineation of fruit and flowers he has few superiors in the countryâ€¦". Although the table-top setting was a common in his work, his preference for placing his still lifes in a natural setting is indicative of his devotion to the aesthetic philosophy of John Ruskin. His work of the 1860s has affinities with the highly detailed, naturalistic imagery of the American Pre-Raphaelites, though by 1868 he was concentrating on figure painting and Spanish and Italian themes. In the early 1880s he returned to still-life subjects (e.g. California Grapes, 1893; Worcester, MA, Art Museum). The subject-matter of his figure paintings was often inspired by the Mediterranean locations he favoured. His art was distinguished by a dark colour range and highly polished finish and reflected his love of Venetian painting. After 1870 Hall exhibited regularly at the National Academy of Design, New York.Hall's work is represented in the Abby A Rockefeller Folk Art Museum, the Chrysler Museum of Art, the Georgia Museum of Art, the High Museum of Art, the Boston Museum of Fine Arts, the Smithsonian American Art Museum, the Brooklyn Museum of Art, the John H. Vanderpoel Art Association, and the Metropolitan Museum of Art.George Henry Hall died in New York City on February 17, 1913.

Description:
Inside the carpet bazaar signed and dated 'Geo. Henry Hall 1897' (lower right) oil on canvas 34 5/8 x 47 5/8 in. (88 x 121 cm.) Painted in 1897 PROVENANCE (Possibly) The Metropolitan Museum of Art, New York (circa 1897-1900). NOTES George Henry Hall began painting at the age of sixteen, and achieved recognisable success and popularity as a still-life artist. After travelling extensively throughout Europe, Hall returned to New York in 1868 and was granted a full membership in the National Academy of Design. The following years, until 1875, Hall travelled between Italy, Palestine, and Egypt, and returned to Europe in 1880 painting still-life images of complex arrangements and dramatic lighting and scale. Yet, Hall was truly a painter of genre, describing himself as '...a painter of figure subjects mostly, but have painted many fruits and flower pieces, work which pleases me for its colour'. By 1888, Hall had largely abandoned still-life painting, focussing his attention on figure subjects and narrative themes, which were his original interests. Some time between 1900 and 1910, Hall was invited to write a summary of his artistic career by George Washington Stevens, then the director of the Toledo Museum of Art, as part of Stevens' compilation of his projected book, Autobiography of Modern Artists. A passage in Hall's biography, states that the present picture was possibly in the collection of the Metropolitan Museum circa 1897-1900 (quoted in Hall's biography for Stevens' projected book Autobiography of Modern Artists, Stevens Collection).

Description:
George Henry Hall (American, 1825-1913)STRAWBERRIES Signed lower right ""G.H. Hall""In its original shadow box frame. As the work has been sealed, the painting and the gilding are in remarkable condition.Oil on canvas 8 1/2 x 6 1/4 in.